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Scowler

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From the New York Times bestselling author of Whalefall, The Shape of Water with Guillermo del Toro, Rotters, and more, comes this equal parts haunting and horrifying horror novel that gves readers insight into the mind of a controlling homicidal man and the son who must stop him. 

"Marvin Burke is one of the great monsters of literature, a figure of immense, credible terror and savagery."--Cory Doctorow, author of Little Children and coeditor of Boing Boing

Imagine your father is a monster. Would that mean there are monsters inside you, too?
Nineteen-year-old Ry Burke, his mother, and little sister eke out a living on their dying family farm. Ry wishes for anything to distract him from the grim memories of his father’s physical and emotional abuse. Then a meteorite falls from the sky, bringing with it not only a fragment from another world but also the arrival of a ruthless man intent on destroying the entire family. Soon Ry is forced to defend himself by resurrecting a trio of imaginary childhood protectors: kindly Mr. Furrington, wise Jesus, and the bloodthirsty Scowler.
The Blamings of the Birds
Sunday, August 23, 1981
20 Hrs., 10 Mins. Until Impact
A tooth was missing and that was never a pleasant thing. It was going on thirty minutes that Ry and Sarah had been after it. When the tiny white kernel had shaken loose from her mouth, Sarah had been staring up at the sky, something she did these days with escalating frequency. The brilliance of the cloudless blue seemed not to faze her, nor did the nip of the heavy and sluggish mosquitoes. She would go blind that way, and Ry knew that was bad; also bad, though, was the unhappy notion that this flat, dull stretch of moribund farmland contained a realm of fascination that in all his years he’d been either unwilling or unable to notice.
What she was looking for were meteors. According to the radio, Sarah was a good eight or nine hours early, but none of the estimates had addressed whether or not you could see meteors during the day. Sarah was just covering her bases. Most kids her age had long forgotten their teachers’ reminders of this celestial event from back in June, because those reminders had carried the unpleasant whiff of homework. Not Sarah. She had stayed up late in April to see the luminous trains of dust cast from the Lyrids; she’d had a fit when a July thunderstorm had robbed her of watching the Delta Aquariids; and two weeks ago she had noted all thirty-­four Perseids she’d seen by making hatch marks in a spiral-­bound notebook. But the passing of the Jaekel Belt was the big one, a cosmic event so rare she’d not witness it again until she was an unimaginable forty-­four years old. To be safe she’d started craning her neck days ago—­she was well aware that trusting the estimates of small-­town schoolteachers and radio personalities was risky.
Interrupting this rigorous scientific observation was an event less rare but almost as exciting: the falling of a baby tooth. The cuspid had dropped while Ry had been busy uprooting the rusted Cardan shaft of a long-­dead baler from the dirt, and who knows how long Sarah had gone before noticing the line of pink blood that crept down her neck. It was only when Ry barreled the soft beam of metal into the drainage ditch and whooped in victory did his sister come alive. She touched the blood and showed it to him.
Ry wasn’t dumb enough to think that his sister believed in the tooth fairy; rather, she believed in money as she believed in nothing else. They all did. It was the thing that had been draining noisily from the farm for a decade now, for Sarah’s entire life, and Ry knew that she hungered after it like a pirate. The whole thing was ugly and he didn’t like to see it; his sister was eleven, pigeon-­toed, proficient at dirtying clothes within seconds of donning them, and blessed with cerulean eyes and the downy blond crown of an angel—­she was the kind of kid who stared up at the sky in hopes of seeing something from storybooks. It troubled Ry that Sarah’s dreamy guilelessness was boned with the sharp and cornered calculations of a handful of grimy coins.
Stiff mufflers of August heat wrapped around their necks and bleak exhales of dust bloated about their ankles as they scuffed their toes through the dirt of the McCafferty Forty. This field and the five others bordering the farm had once commanded dizzying ranks of corn, soybean, hay, wheat, oat, and sorghum. Countless times in the past, Ry had put his hands to the dirt and felt for the hidden heartbeat, but it had been as futile as searching for meteor trails in broad daylight. Only his father had ever had the ability to speak to the land.
Marvin Burke was a man whose shadow still chilled the entire county. Merchants and neighbors alike had brandished a distrust of the man of the wolverine manner, the obliterating handshake, the features that never stopped moving—­pulsing veins, twitching mustache, a rubber grin that delivered the nonstop soliloquies. Marvin Burke talked too much; he was too tall, too thin; his muscles were too rangy; his head was shaved down to a gleam they found unnatural. They suspected the man was a horror and they were right.
Ry had known that what his father did in the privacy of their home was unspeakable, but how could he or anyone else dare to stop him when Marvin Burke was the one who kept the sun rising and falling, kept winters from falling too harshly, kept late-­spring frosts from shriveling the delicate yellow buds peeking through the soil? Ry had visceral memories of sitting beside his father in the combine cab, their stoic cattle dog, Sniggety, further crowding the quarters. His father would push back his thick square glasses and orate so enthusiastically that the wide gap between his two front teeth appeared to melt into the black mustache and form a huge open hole in the center of his face.
From this hole would pour forth desperately important information about the functioning of the machine’s cutter bar and crop elevator, as well as broader lessons about acreage, not just of their farm but of the neighboring properties too, and how the Burkes had just the right amount of land while the surrounding fools had too much or too little to produce anything but ruin; about patterns of planting and harvesting and rotation; about how to treat your cattle—­they’re not, after all, goddamn pets. Eventually his father’s stream of chatter gave way to the humming of a song, the same one day after day and year after year, something tuneless and belligerent and exactly one bar long—­hmmmm hm hm hmmmm—­and that was Ry’s cue to edge away and turn his head to watch the monsters of dust swelling in the machine’s wake.
When Marvin was locked up nine years ago, when Ry was ten, the farm should have gnawed itself to the bone in mere days. Marvin had never given his wife insight into his sorcery, so she only knew of the farm what could be printed in black and white, and she shouted these banal clumps of information from porch steps and barn doors and fence posts in indignant tones, as if their repetition and volume could somehow disguise her total lack of mastery. Not one of these shouts possessed the power of a single hummed bar of hmmmm hm hm hmmmm. After a time, the hired hands began showing up late and taking extended smoke breaks. Not two years after Ry’s father was put away, the lead hand quit. Days after that, the others approached one by one with their hats in hands.
The dirt became just dirt. It quit clinging to roots, ceased soaking up manure, stopped drinking rain, and spat seeds. The Strickland Sixty vanished in a fell swoop, victim to a season of soy that slithered above ground like worms. Two years later, the Horvath Property was decimated when a lightning strike enveloped the lower portion in a blue fire that rushed across the dry wheat with hellacious speed. And that was how it happened, the excruciating piecemeal amputation of their land. Ry’s mother tried to sell portions, but the offers were insulting. She chose instead to let the grounds overgrow and smother.
The cracks in the dirt now yawned to proportions slutty with thirst; in all likelihood, Sarah’s tooth had fallen into one of them. Ry wondered if he should feel some comfort in Sarah’s loss. Her tooth had been planted like a seed, and it had been years since this field had been fed as much. Now the entire farm was up for sale, and soon they would be transplanted to some desultory house in Monroeville or October or Bloughton. A house—­that was if they got lucky with an offer. More likely was an apartment. Ry could barely conceive of such a thing. He glanced at his sister, maybe fifteen feet away, and tried to imagine her growing into a long-­legged young lady within such cramped confines. He returned his face to the dirt. His heart hurt; he could actually feel it hurt. What was the use of resisting? He wiped sweat from his neck and transported it in a cooling wave to his shaggy brown hair. A fallen tooth in a carpeted apartment would at least be easy to find.
19 Hrs., 46 Mins. Until Impact
“Mom’s calling.” Sarah didn’t look up when she said it. “Hey. Mom’s calling.”
It amazed Ry how after eleven years of being subject to her mother’s hollering, Sarah still managed to muster genuine alarm.
“She’s yelled three times already,” she said.
“I heard.”
“Then why didn’t you yell back?”
“Why didn’t you?”
“Because I’m the kid.”
“What? That’s retarded.”
“Ry,” she whined.
“Fuck, it’s hot.”
“Don’t blame me. It’s not my fault I have baby teeth. If you lost your teeth I’d help you find them.”
“They’re called deciduous teeth. Deciduous.”
“And you said fuck. That means I can say it.”
“Go fucking ahead. Have a fucking ball, fucko.”
“Anyway, I know they’re called deciduous.” She stood up straight and gathered her hair in a motion of startling femininity. Ry didn’t know where she came up with these displays of womanhood. Television seemed the most likely culprit. Kimberly from Diff’rent Strokes struck him as especially lady­like as she pranced around her cream-­colored and pillared penthouse—­now, there was an apartment. Of course, it was always possible that Sarah had learned such gestures from their mother, but at the moment Ry couldn’t recall a single time their mom had moved in any way that made her hair or hemlines dance. If such behavior had ever existed, her husband had beaten it out of her. And after that the farm had taken up the strap.
All at once Ry was angry with Sarah, and for bad reasons, which only made him angrier.
“It’s hot as hell and we’re not going to find your stupid tooth. Let’s just go so she’ll shut up already.”
  • WINNER
    Odyssey Award
  • WINNER | 2014
    Odyssey Award
  • SELECTION
    ALA Best Books for Young Adults
  • SELECTION
    Junior Library Guild Selection
  • SELECTION
    TAYSHAS Reading List
  • SELECTION | 2014
    YALSA Amazing Audiobooks for Young Adults
  • SELECTION | 2013
    Booklist Editors' Choice: Audiobooks - Young Listeners

“Marvin [Burke] is one of the great monsters of literature, a figure of immense, credible terror and savagery.” —Cory Doctorow, author of Little Brother and coeditor of Boing Boing
 
“The demon offspring of Stephen King’s The Shining and Hitchcock’s Psycho.” —Michael Grant, New York Times bestselling author of Gone and BZRK
 
“A memorable, brutal assault on the senses, not for the fainthearted or delicate.” Publishers Weekly
 
“Daniel Kraus writes raw and deft and dangerous. Consider yourself warned.” —Adele Griffin, two-time National Book Award finalist
 
“A boldly visceral coming-of-age story that explores the darkest spaces in family life and the shocking resilience of the human psyche.” —Booklist
 
“This book has the pacing of a Stephen King movie, and it never lets up in its gruesomeness.” —School Library Journal
 
“Connoisseurs of the grotesque have come to the right place, as Kraus’ impeccable sense of thriller timing spins out the terror.” —The Bulletin of the Center for Children’s Books
 
“A Midwestern gothic family saga that will hook readers.” —Kirkus Reviews
 
“So unrelentingly bleak, it stretches the very definition of YA horror.” —Bloody-Disgusting.com
 
Scowler is dark, poetic, and challenging.” —Rue-Morgue.com
 
“For lovers of dark thrillers and horror narratives, Scowler is one crazy roller-coaster ride.” —Portland Book Review
 
“Bound to scare up many jaw-dropping reactions.” —Chicago Tribune
 
A Tayshas Reading List Selection
 
A Junior Library Guild Selection

Daniel Kraus is the author of two novels and director of six feature films. He is also an editor at the American Library Association and a regular contributor to such publications as Cosmopolitan and Maxim. His first novel, The Monster Variations was selected to New York Public Library’s "100 Best Stuff for Teens." He lives with his wife in Chicago. Fans can find him online at www.danielkraus.com and on Twitter at DanielDKraus.

A note from author Daniel Kraus

THE INSPIRATION

The genesis of Rotters came to me ten years ago.  I was driving away from the North Carolina coast, trying to outrun a hurricane, when I passed a cemetery.  An image popped into my head: two men battling through the swampy, corpse-ridden mud to find some valuable object.  I didn’t know who these men were or what they were after, but the vision was apocalyptic and exciting.

A few years ago, I began to give serious thought to those two nameless figures.  I’ve always liked horror movies and had started to take notice of all the great grave robbing scenes.  They were everywhere, from the obvious classics (Frankenstein), to new blockbusters at my local multiplex (Drag Me to Hell), to more obscure fare I’d catch late-night on Turner Classic Movies (like the must-see Mr. Sardonicus).  One constant stuck out: grave robbing was always kept on the periphery, as if it were something even the filmmakers were scared to dwell upon. And so I thought, what if you did dwell upon it?  What exactly would you see? 

Months later I found myself on the winning end of a stack of history books about “resurrection men”—nineteenth-century grave robbers hired to steal bodies for use in medical school dissections.  You might expect I’d be disgusted at their adventures; instead, I found myself greatly impressed.  There was an art to it.  And like all arts, it was something that could be passed down, master to apprentice, or—even more interesting to me as an author—father to son.

THE CHALLENGE

Rotters is a story about a boy named Joey Crouch who loses everything—his mother, his friends, his home, even his one talent is rendered useless—and then out of desperation turns to Ken Harnett, his mysterious and threatening biological father, only to find that Harnett is, in fact, the dad he’s always needed.  And this truth is in spite of—or maybe partly because of—what he does in graveyards under the cover of night.

I knew right away the biggest challenge in writing the book would be to generate sympathy for people who did something so repugnant.  But I also knew right away that sympathy was possible, because the passing on of treasured information is by its very nature a tender act.  Even Harnett’s initial coldness is a form of tenderness: it’s meant to turn Joey away from a dangerous and lonely life.  When Joey is finally let in, he suffers a training period as cruel as that of any budding concert pianist, but what drives this merciless routine is, once again, love.  The secrets Harnett reveal to Joey are no less than the secrets of mortality and how we deal with the promise of our own demise.  It’s heavy stuff, no doubt.  But if handled with a little style and a lot of guts, I knew it could be the stuff of great literature, too.
 
THE DARKNESS

We’ve all seen those time-lapse films of the decomposition of a dead animal.  At first, it’s gross.  But then the flesh’s constant reinvention becomes fascinating, and, after a while, even sort of beautiful.  It is my hope that Rotters has a similar effect—that if we, writer and reader, look hard enough together at something ugly, it might just transform into something magnificent.

Even before joining his father in the family business, the complications in Joey’s life are legion: he’s an outcast and his dad is the town pariah—not to mention that awful smell.  But these burdens are nothing when compared to those of the men Joey meets: the underworld of grave robbers known as the Diggers.  These Diggers are proud knights fighting for a dying kingdom and have given their entire lives to a labor no one will ever appreciate.  Joey’s arrival and his relationship with Harnett forces the Diggers to wonder if they’ve wasted their lives.  Surely no lurker of graveyards deserves a gift as great as love.  This is a world of darkness that Joey has plunged into—and we haven’t even gotten to Harnett’s would-be brother Boggs, whose jealousy runs so deep that he’ll stop at almost nothing to make Joey his own son.

Darkness is a defining characteristic of Rotters.  But it’s worthy to remember that darkness is just that—it’s dark—and what is being concealed in the dark is not just the horrible and fearsome, it’s also the inspirational and moving.  Horror means nothing without happiness; dark means nothing without light.  Rotters may make you feel scared, but hopefully it will also make you simply feel.  It’s that kind of book, or at least I hope it is.
 
- Daniel Kraus View titles by Daniel Kraus

About

From the New York Times bestselling author of Whalefall, The Shape of Water with Guillermo del Toro, Rotters, and more, comes this equal parts haunting and horrifying horror novel that gves readers insight into the mind of a controlling homicidal man and the son who must stop him. 

"Marvin Burke is one of the great monsters of literature, a figure of immense, credible terror and savagery."--Cory Doctorow, author of Little Children and coeditor of Boing Boing

Imagine your father is a monster. Would that mean there are monsters inside you, too?
Nineteen-year-old Ry Burke, his mother, and little sister eke out a living on their dying family farm. Ry wishes for anything to distract him from the grim memories of his father’s physical and emotional abuse. Then a meteorite falls from the sky, bringing with it not only a fragment from another world but also the arrival of a ruthless man intent on destroying the entire family. Soon Ry is forced to defend himself by resurrecting a trio of imaginary childhood protectors: kindly Mr. Furrington, wise Jesus, and the bloodthirsty Scowler.

Excerpt

The Blamings of the Birds
Sunday, August 23, 1981
20 Hrs., 10 Mins. Until Impact
A tooth was missing and that was never a pleasant thing. It was going on thirty minutes that Ry and Sarah had been after it. When the tiny white kernel had shaken loose from her mouth, Sarah had been staring up at the sky, something she did these days with escalating frequency. The brilliance of the cloudless blue seemed not to faze her, nor did the nip of the heavy and sluggish mosquitoes. She would go blind that way, and Ry knew that was bad; also bad, though, was the unhappy notion that this flat, dull stretch of moribund farmland contained a realm of fascination that in all his years he’d been either unwilling or unable to notice.
What she was looking for were meteors. According to the radio, Sarah was a good eight or nine hours early, but none of the estimates had addressed whether or not you could see meteors during the day. Sarah was just covering her bases. Most kids her age had long forgotten their teachers’ reminders of this celestial event from back in June, because those reminders had carried the unpleasant whiff of homework. Not Sarah. She had stayed up late in April to see the luminous trains of dust cast from the Lyrids; she’d had a fit when a July thunderstorm had robbed her of watching the Delta Aquariids; and two weeks ago she had noted all thirty-­four Perseids she’d seen by making hatch marks in a spiral-­bound notebook. But the passing of the Jaekel Belt was the big one, a cosmic event so rare she’d not witness it again until she was an unimaginable forty-­four years old. To be safe she’d started craning her neck days ago—­she was well aware that trusting the estimates of small-­town schoolteachers and radio personalities was risky.
Interrupting this rigorous scientific observation was an event less rare but almost as exciting: the falling of a baby tooth. The cuspid had dropped while Ry had been busy uprooting the rusted Cardan shaft of a long-­dead baler from the dirt, and who knows how long Sarah had gone before noticing the line of pink blood that crept down her neck. It was only when Ry barreled the soft beam of metal into the drainage ditch and whooped in victory did his sister come alive. She touched the blood and showed it to him.
Ry wasn’t dumb enough to think that his sister believed in the tooth fairy; rather, she believed in money as she believed in nothing else. They all did. It was the thing that had been draining noisily from the farm for a decade now, for Sarah’s entire life, and Ry knew that she hungered after it like a pirate. The whole thing was ugly and he didn’t like to see it; his sister was eleven, pigeon-­toed, proficient at dirtying clothes within seconds of donning them, and blessed with cerulean eyes and the downy blond crown of an angel—­she was the kind of kid who stared up at the sky in hopes of seeing something from storybooks. It troubled Ry that Sarah’s dreamy guilelessness was boned with the sharp and cornered calculations of a handful of grimy coins.
Stiff mufflers of August heat wrapped around their necks and bleak exhales of dust bloated about their ankles as they scuffed their toes through the dirt of the McCafferty Forty. This field and the five others bordering the farm had once commanded dizzying ranks of corn, soybean, hay, wheat, oat, and sorghum. Countless times in the past, Ry had put his hands to the dirt and felt for the hidden heartbeat, but it had been as futile as searching for meteor trails in broad daylight. Only his father had ever had the ability to speak to the land.
Marvin Burke was a man whose shadow still chilled the entire county. Merchants and neighbors alike had brandished a distrust of the man of the wolverine manner, the obliterating handshake, the features that never stopped moving—­pulsing veins, twitching mustache, a rubber grin that delivered the nonstop soliloquies. Marvin Burke talked too much; he was too tall, too thin; his muscles were too rangy; his head was shaved down to a gleam they found unnatural. They suspected the man was a horror and they were right.
Ry had known that what his father did in the privacy of their home was unspeakable, but how could he or anyone else dare to stop him when Marvin Burke was the one who kept the sun rising and falling, kept winters from falling too harshly, kept late-­spring frosts from shriveling the delicate yellow buds peeking through the soil? Ry had visceral memories of sitting beside his father in the combine cab, their stoic cattle dog, Sniggety, further crowding the quarters. His father would push back his thick square glasses and orate so enthusiastically that the wide gap between his two front teeth appeared to melt into the black mustache and form a huge open hole in the center of his face.
From this hole would pour forth desperately important information about the functioning of the machine’s cutter bar and crop elevator, as well as broader lessons about acreage, not just of their farm but of the neighboring properties too, and how the Burkes had just the right amount of land while the surrounding fools had too much or too little to produce anything but ruin; about patterns of planting and harvesting and rotation; about how to treat your cattle—­they’re not, after all, goddamn pets. Eventually his father’s stream of chatter gave way to the humming of a song, the same one day after day and year after year, something tuneless and belligerent and exactly one bar long—­hmmmm hm hm hmmmm—­and that was Ry’s cue to edge away and turn his head to watch the monsters of dust swelling in the machine’s wake.
When Marvin was locked up nine years ago, when Ry was ten, the farm should have gnawed itself to the bone in mere days. Marvin had never given his wife insight into his sorcery, so she only knew of the farm what could be printed in black and white, and she shouted these banal clumps of information from porch steps and barn doors and fence posts in indignant tones, as if their repetition and volume could somehow disguise her total lack of mastery. Not one of these shouts possessed the power of a single hummed bar of hmmmm hm hm hmmmm. After a time, the hired hands began showing up late and taking extended smoke breaks. Not two years after Ry’s father was put away, the lead hand quit. Days after that, the others approached one by one with their hats in hands.
The dirt became just dirt. It quit clinging to roots, ceased soaking up manure, stopped drinking rain, and spat seeds. The Strickland Sixty vanished in a fell swoop, victim to a season of soy that slithered above ground like worms. Two years later, the Horvath Property was decimated when a lightning strike enveloped the lower portion in a blue fire that rushed across the dry wheat with hellacious speed. And that was how it happened, the excruciating piecemeal amputation of their land. Ry’s mother tried to sell portions, but the offers were insulting. She chose instead to let the grounds overgrow and smother.
The cracks in the dirt now yawned to proportions slutty with thirst; in all likelihood, Sarah’s tooth had fallen into one of them. Ry wondered if he should feel some comfort in Sarah’s loss. Her tooth had been planted like a seed, and it had been years since this field had been fed as much. Now the entire farm was up for sale, and soon they would be transplanted to some desultory house in Monroeville or October or Bloughton. A house—­that was if they got lucky with an offer. More likely was an apartment. Ry could barely conceive of such a thing. He glanced at his sister, maybe fifteen feet away, and tried to imagine her growing into a long-­legged young lady within such cramped confines. He returned his face to the dirt. His heart hurt; he could actually feel it hurt. What was the use of resisting? He wiped sweat from his neck and transported it in a cooling wave to his shaggy brown hair. A fallen tooth in a carpeted apartment would at least be easy to find.
19 Hrs., 46 Mins. Until Impact
“Mom’s calling.” Sarah didn’t look up when she said it. “Hey. Mom’s calling.”
It amazed Ry how after eleven years of being subject to her mother’s hollering, Sarah still managed to muster genuine alarm.
“She’s yelled three times already,” she said.
“I heard.”
“Then why didn’t you yell back?”
“Why didn’t you?”
“Because I’m the kid.”
“What? That’s retarded.”
“Ry,” she whined.
“Fuck, it’s hot.”
“Don’t blame me. It’s not my fault I have baby teeth. If you lost your teeth I’d help you find them.”
“They’re called deciduous teeth. Deciduous.”
“And you said fuck. That means I can say it.”
“Go fucking ahead. Have a fucking ball, fucko.”
“Anyway, I know they’re called deciduous.” She stood up straight and gathered her hair in a motion of startling femininity. Ry didn’t know where she came up with these displays of womanhood. Television seemed the most likely culprit. Kimberly from Diff’rent Strokes struck him as especially lady­like as she pranced around her cream-­colored and pillared penthouse—­now, there was an apartment. Of course, it was always possible that Sarah had learned such gestures from their mother, but at the moment Ry couldn’t recall a single time their mom had moved in any way that made her hair or hemlines dance. If such behavior had ever existed, her husband had beaten it out of her. And after that the farm had taken up the strap.
All at once Ry was angry with Sarah, and for bad reasons, which only made him angrier.
“It’s hot as hell and we’re not going to find your stupid tooth. Let’s just go so she’ll shut up already.”

Awards

  • WINNER
    Odyssey Award
  • WINNER | 2014
    Odyssey Award
  • SELECTION
    ALA Best Books for Young Adults
  • SELECTION
    Junior Library Guild Selection
  • SELECTION
    TAYSHAS Reading List
  • SELECTION | 2014
    YALSA Amazing Audiobooks for Young Adults
  • SELECTION | 2013
    Booklist Editors' Choice: Audiobooks - Young Listeners

Reviews

“Marvin [Burke] is one of the great monsters of literature, a figure of immense, credible terror and savagery.” —Cory Doctorow, author of Little Brother and coeditor of Boing Boing
 
“The demon offspring of Stephen King’s The Shining and Hitchcock’s Psycho.” —Michael Grant, New York Times bestselling author of Gone and BZRK
 
“A memorable, brutal assault on the senses, not for the fainthearted or delicate.” Publishers Weekly
 
“Daniel Kraus writes raw and deft and dangerous. Consider yourself warned.” —Adele Griffin, two-time National Book Award finalist
 
“A boldly visceral coming-of-age story that explores the darkest spaces in family life and the shocking resilience of the human psyche.” —Booklist
 
“This book has the pacing of a Stephen King movie, and it never lets up in its gruesomeness.” —School Library Journal
 
“Connoisseurs of the grotesque have come to the right place, as Kraus’ impeccable sense of thriller timing spins out the terror.” —The Bulletin of the Center for Children’s Books
 
“A Midwestern gothic family saga that will hook readers.” —Kirkus Reviews
 
“So unrelentingly bleak, it stretches the very definition of YA horror.” —Bloody-Disgusting.com
 
Scowler is dark, poetic, and challenging.” —Rue-Morgue.com
 
“For lovers of dark thrillers and horror narratives, Scowler is one crazy roller-coaster ride.” —Portland Book Review
 
“Bound to scare up many jaw-dropping reactions.” —Chicago Tribune
 
A Tayshas Reading List Selection
 
A Junior Library Guild Selection

Author

Daniel Kraus is the author of two novels and director of six feature films. He is also an editor at the American Library Association and a regular contributor to such publications as Cosmopolitan and Maxim. His first novel, The Monster Variations was selected to New York Public Library’s "100 Best Stuff for Teens." He lives with his wife in Chicago. Fans can find him online at www.danielkraus.com and on Twitter at DanielDKraus.

A note from author Daniel Kraus

THE INSPIRATION

The genesis of Rotters came to me ten years ago.  I was driving away from the North Carolina coast, trying to outrun a hurricane, when I passed a cemetery.  An image popped into my head: two men battling through the swampy, corpse-ridden mud to find some valuable object.  I didn’t know who these men were or what they were after, but the vision was apocalyptic and exciting.

A few years ago, I began to give serious thought to those two nameless figures.  I’ve always liked horror movies and had started to take notice of all the great grave robbing scenes.  They were everywhere, from the obvious classics (Frankenstein), to new blockbusters at my local multiplex (Drag Me to Hell), to more obscure fare I’d catch late-night on Turner Classic Movies (like the must-see Mr. Sardonicus).  One constant stuck out: grave robbing was always kept on the periphery, as if it were something even the filmmakers were scared to dwell upon. And so I thought, what if you did dwell upon it?  What exactly would you see? 

Months later I found myself on the winning end of a stack of history books about “resurrection men”—nineteenth-century grave robbers hired to steal bodies for use in medical school dissections.  You might expect I’d be disgusted at their adventures; instead, I found myself greatly impressed.  There was an art to it.  And like all arts, it was something that could be passed down, master to apprentice, or—even more interesting to me as an author—father to son.

THE CHALLENGE

Rotters is a story about a boy named Joey Crouch who loses everything—his mother, his friends, his home, even his one talent is rendered useless—and then out of desperation turns to Ken Harnett, his mysterious and threatening biological father, only to find that Harnett is, in fact, the dad he’s always needed.  And this truth is in spite of—or maybe partly because of—what he does in graveyards under the cover of night.

I knew right away the biggest challenge in writing the book would be to generate sympathy for people who did something so repugnant.  But I also knew right away that sympathy was possible, because the passing on of treasured information is by its very nature a tender act.  Even Harnett’s initial coldness is a form of tenderness: it’s meant to turn Joey away from a dangerous and lonely life.  When Joey is finally let in, he suffers a training period as cruel as that of any budding concert pianist, but what drives this merciless routine is, once again, love.  The secrets Harnett reveal to Joey are no less than the secrets of mortality and how we deal with the promise of our own demise.  It’s heavy stuff, no doubt.  But if handled with a little style and a lot of guts, I knew it could be the stuff of great literature, too.
 
THE DARKNESS

We’ve all seen those time-lapse films of the decomposition of a dead animal.  At first, it’s gross.  But then the flesh’s constant reinvention becomes fascinating, and, after a while, even sort of beautiful.  It is my hope that Rotters has a similar effect—that if we, writer and reader, look hard enough together at something ugly, it might just transform into something magnificent.

Even before joining his father in the family business, the complications in Joey’s life are legion: he’s an outcast and his dad is the town pariah—not to mention that awful smell.  But these burdens are nothing when compared to those of the men Joey meets: the underworld of grave robbers known as the Diggers.  These Diggers are proud knights fighting for a dying kingdom and have given their entire lives to a labor no one will ever appreciate.  Joey’s arrival and his relationship with Harnett forces the Diggers to wonder if they’ve wasted their lives.  Surely no lurker of graveyards deserves a gift as great as love.  This is a world of darkness that Joey has plunged into—and we haven’t even gotten to Harnett’s would-be brother Boggs, whose jealousy runs so deep that he’ll stop at almost nothing to make Joey his own son.

Darkness is a defining characteristic of Rotters.  But it’s worthy to remember that darkness is just that—it’s dark—and what is being concealed in the dark is not just the horrible and fearsome, it’s also the inspirational and moving.  Horror means nothing without happiness; dark means nothing without light.  Rotters may make you feel scared, but hopefully it will also make you simply feel.  It’s that kind of book, or at least I hope it is.
 
- Daniel Kraus View titles by Daniel Kraus